Blue hummingbird microphone review will tell you everything you need to know about this popular microphone. If you are looking for a quality microphone that will help you record great audio, this is the one for you. The blue hummingbird microphone is known for its clear sound quality and ability to pick up even the softest sounds.
- 1 Pros And Cons
- 2 Blue Hummingbird Microphone Reviews
- 3 Why Should You Get The Blue Hummingbird?
- 4 FAQ
- 5 Conclusion
Pros And Cons
- It is reasonably priced.
- There is little noise.
- Overall, the audio performance is excellent, with a smooth but detailed high end.
- The swivel head aids in the resolution of positioning issues.
- There are no pad or roll-off switches.
Blue Hummingbird Microphone Reviews
The Most Important Characteristics
- A small-diaphragm condenser microphone based on the company’s B1 capsule.
- A 180° rotating head provides precise microphone location for drum overheads and close-miking of a hi-hat, snare, toms, acoustic guitar, strings, and other instruments.
- Blue Microphone Hummingbirds come with a Hummingbird condenser microphone with a small diaphragm.
- Sturdy plastic carrying box with foam inside.
- The windscreen is constructed of foam with a microphone clip.
- For precise microphone location, spin the head 180 degrees.
- This cardioid condenser capsule is based on the Blue Bottle B1 capsule.
- Unrivaled sonic accuracy and frequency responsiveness in the industry
- The Hummingbird from Blue Microphones has an incredibly fast transient response and can tolerate high SPL levels.
- Condenser with Pressure Gradient Transducer
- The most prevalent Polar Pattern is Cardioid.
- 20Hz – 20kHz frequency response (frequency range).
- The sensitivity at 1000 hertz is 15mV/Pa (1 Pa = 94dB SPL).
- The output impedance is 50 Ohms.
- Load Impedance: At rated load, not less than one kOhm
- SPL maximum: 130 dB SPL S/N dB-A ratio: 85.5 dB (IEC 651)
- When A is weighted, the noise intensity is eight dB-A. (IEC 651)
- Dynamic range of 129.5 decibels (2.5 kOhm)
- Power Requirements: +48V direct current Phantom Power (IEC268-15)
- The item’s weight is 212 g. (7.5 oz.)
- 6.7 inches by 1.1 inches by 1.1 inches in size (170 x 27 x 27 mm)
- The polar pattern has a cardioid axis.
- To be used in the studio and on stage.
- The diaphragm is well-tuned, and the frequency response spans 20 Hz to 20 kHz.
- SPL of 130 dB and 0.1 second transient response time
- A microphone clip and a foam windscreen are included.
- Sturdy plastic carrying box with foam inside.
The Physical Features
The Hummingbird is physically small, with a cylindrical body made mostly of steel and coated in a metallic grey coating to endure the rigors of live sound and studio recording.
This gadget features a tilting head with the same diameter as the body, although it is only around 36mm long and 27mm wide, with the capsule taking up the bulk of the interior width.
As expected, when the capsule is pointing straight forward, the mic is 170mm long, and it has an XLR balanced output at the other end of the body. A normal 48V phantom power source is required for operation.
Blue’s literature claims a lightning-quick transient response and SPL management of up to 130dB. At the same time, according to the provided little handbook, the Hummingbird is compatible with the great majority of acoustic instruments, including pianos and acoustic guitars, drum overheads, and another percussion.
Because of its low production tolerance (less than 2dB response) and its tight manufacturing tolerance, it may be used in stereo pairs in addition to main and supporting voices (less than 2dB response). Blue offered us a set of headphones in return for our testing, and the booklet included some useful information on possible microphone placements for different instruments.
The microphone is properly wrapped upon delivery in a robust, semi-rigid zip-up carry case with molded foam inserts to contain the microphone, the provided stand clip, and a foam windscreen.
Nonetheless, its technical specs indicate how it could sound: frequency response of 20Hz to 20kHz, a normal sensitivity of 15mV/Pa at 1kHz, and a dynamic range of 129.5dB. The manufacturer claims that the EIN noise value is 8.5dB. (A-weighted).
A smoothed response graph shows strong presence humps at 3.5kHz and 10kHz. However, they barely contribute two or three dB of boost at those frequencies. At the low end of the frequency spectrum, a fixed moderate roll-off below 100Hz is utilized rather than a switchable low-cut filter, and there is no pad switch.
Blue’s claim that the microphone can catch transient information with a high degree of clarity was proven when tested with an acoustic guitar while utilizing the swivel head to sample different mic location possibilities.
The sound is vibrant and open, with no lower-mid congestion that some microphones suffer with, yet going away to the point where the proximity effect no longer holds sway diminishes the deep bottom end below what you’d expect from a flat–response mic.
Given the fixed LF roll-off, this is to be anticipated, and it shouldn’t be a problem in most applications. This is typically all you need to keep things sounding clean in a mix, but if greater depth is desired, you can apply just a trace of EQ to recover the proper overall tonal balance.
It’s also worth noting that, although the highs are crisp and well–defined, they sound pretty smooth, and the mids have a melodic warmth that doesn’t distract from the impression of clarity.
When attempting to locate the sweet spot for an instrument, the ability to rotate the head comes in handy since you can test a lot of variants without having to adjust the mic or stand.
This flexibility to place the mic into odd areas comes in handy when working over drums inside a kit. My hand–percussion test recordings with a Turkish darbuka drum validated the competent transient handling.
The darbuka is a good instrument for mic testing since it has a good depth of tone but also a lot of intricacy due to its metal shell. All of the small rings and pings you get from playing what are essentially rim shots with your fingertips translate quite well.
As with the guitar, the darbuka sound is clear and nuanced, albeit, at a distance of around 300mm, the deep lows were notably more restricted than from the Sennheiser MKH40 I had set up nearby for comparison.
Positioning the mic body horizontally and then angling the head down towards the drum addresses many accessibility issues, particularly when working on toms since the cymbals are often close overhead.
However, the absence of a pad switch scares me in a tight snare- and tom-miking circumstances when the drummer is extremely heavy-handed — I’d feel more sure if the maximum SPL handling could have been increased more than 140dB. Of course, this isn’t a problem when utilizing a pair of these microphones as drum overheads since the distance is considerably larger.
The Hummingbird may be used as a vocal mic as long as a pop shield is placed in front of it, and the proximity effect can be used to regulate the degree of additional warmth. As with any solo voice, it all boils down to whether or not the microphone matches the specific voice you’re attempting to capture.
The subjective final result always beats the spec sheet in single voice applications, but utilizing a pair to record a chorus or vocal group in stereo should be a reasonably safe choice.
The Hummingbird works well for a mid-priced pencil–style mic, with the extra benefit of a swiveling head. It compares well to comparably priced microphones, but it lacks the impression of refinement and pinpoints focus that a high–end, small-diaphragm mic provides. I can say that you receive a well-made microphone capable of producing flawless results in a variety of situations.
Why Should You Get The Blue Hummingbird?
The microphone validated Blue’s claim that it can capture transient information with a high degree of clarity when tested using an acoustic guitar and the swivel head to analyze numerous mic location choices. The sound may be vibrant and open, with none of the lower-mid congestion that other microphones suffer from.
Moving away from the microphone until the proximity effect has no impact drops the deep bass end to a level below what you would anticipate from a flat-response microphone.
Given the preset LF roll-off, this shouldn’t be a problem in most applications. It’s typically precisely what you need to keep things sounding clean in a mix — but if the extra depth is wanted, a tiny bit of EQ may be used to restore the proper overall tonal balance in the mix.
While the highs are crisp and well-defined, they also seem rather smooth. The mids have a melodic warmth that doesn’t detract from the overall sense of clarity.
This function is useful when attempting to discover the sweet spot for an instrument since it enables you to experiment with different locations without changing the microphone or stand.
Working over drums within a set is very easy, and my hand-percussion test recordings with a Turkish darbuka drum proved the mic’s outstanding transient handling. Since its metal shell, the darbuka is a suitable instrument for mic testing because it offers a decent depth of tone while still having a substantial degree of complexity.
When heard via headphones, all of the little rings and pings produced by shooting what are effectively rim shots with your fingertips sound wonderful.
The darbuka’s sound is articulate and nuanced, much like the guitar’s. Still, at around 300mm, the deep lows were noticeably more constrained than those generated by the Sennheiser MKH40, which I used as a comparison microphone in the same room.
When working in close quarters around a drum set, laying the mic body horizontally and angling the head down towards the drum may alleviate accessibility difficulties. This is particularly important while working on toms since the cymbals are typically close to the drum.
I’m worried about the absence of a pad switch in tight snare and tom micing situations when the drummer is particularly heavy-handed – I’d feel more confident if the maximum SPL handling had been raised over 140dB. This isn’t a problem when utilizing two of these mics as drum overheads since their distance is much greater.
You should have no problems using it as a vocal mic as long as you use a pop shield in front of the Hummingbird. You may also utilize the proximity effect to control the degree of warmth added to the recording.
The most crucial factor, as is typically the case with solo voices, is whether or not the microphone is suited for the specific voice you are attempting to capture.
Although using a pair to record a choir or vocal group in stereo should be a reasonably safe bet, the subjective outcome almost always prioritizes the specs sheet in solo vocal applications.
The Hummingbird from Blue Microphones is a highly versatile, precision-engineered Class-D dynamic microphone. A tiny small-diaphragm microphone fits well into limited spaces and can swiftly swap positions in circumstances where other microphones are immovable.
Because of its pivoting head, which can be rotated 180 degrees, you may record at any angle without changing the tripod base. The Hummingbird, based on Blue’s well-regarded “B1” cardioid capsule, gives balanced character and enough high end in the studio and onstage for drum overheads, acoustic guitar, strings, or any instrument with rapid transients and rich overtones.
The new Blue Hummingbird small diaphragm condenser (SDC) is like many other SDCs in that it says nothing about itself. It includes a small-diaphragm capsule, a compact cylindrical container (based on Blue’s famous Bottle B1), no switching filters or pads, and Class A electronics without integrated circuits. Regardless, the capsule turns 180 degrees!
They are pressure gradient condensers with a cardioid pickup pattern, a full bandwidth response up to 20 kHz, a one-kilohm load, and an exceedingly low A-weighted self-noise of 8.5 decibels.
Hummingbirds are utilized for several purposes (quite good for an SDC, which are comparably noisy). Each Hummingbird is around 6.7 inches long (a little longer than many SDCs).
The Hummingbird has a superb bottom end and detailed imagery while singing. This equilibrium works especially well with acoustic instruments. You may get a well-articulated guitar sound with minimum EQ by using a pair of Hummingbirds, one on the instrument’s body and the other at the neck/body joint.
The bottom end is comprehensive and devoid of exaggerated hype; the mids are accurate and precise in transients, and the top end naturally conveys vivid detail, vision, and motion. Not to mention that it has a low self-noise, a pop filter, and rotatable caps, all of which help its overall performance.
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Is blue a good microphone brand?
Blue Microphones was established in 1995 by American musician Skipper Wise and Latvian recording engineer Martins Saulespurens. Compared to most other well-known businesses, this makes them one of the market’s youngest, which is astounding given how much they’ve developed in little over two decades.
Are Blue Microphones made in China?
The first BLUE microphone was developed in Riga, Latvia, in 1995. It was the iconic “Baby bottle,” which is still produced in 2021. From 1995 to 2004, BLUE microphones were made in Latvia; beginning in 2005, manufacturing was shifted to China, while certain microphones were still constructed in the United States.
Is Blue Microphone good for singing?
When it comes to capturing singing, one brand is unrivaled – Blue Microphone. Blue’s reputation has been founded on high-quality microphone hardware, and as a consequence, the Blue Yeti USB Mic is the most popular option for serious at-home recording.
Where is the Blue Snowball manufactured?
Blue is well recognized for its unusually shaped or retro-styled microphones, typically developed in California and produced in Latvia. On the other hand, the Snowball is made in China, as are many of its rivals.
The blue hummingbird microphone is a great choice for anyone looking for a quality microphone. It offers excellent sound quality and is very easy to use. Thanks for reading!